The iconic Bowers & Wilkins Zeppelin Pro Edition sounds better than ever
A first listen confirmed the classic wireless speaker has taken another step up
There aren’t many wireless speakers that have been around as long as the Zeppelin, which first floated into being as an iPod dock – but that’s because Bowers & Wilkins ensures that every new iteration of the design classic is stuffed with top-end tech to keep it at the top of the tree. Having just had an early listen, I’ve got to say the new Pro Edition doesn’t show any signs of bucking that trend.
Bowers’ engineers knew better than to mess with the blimp-shaped silhouette, which returns unchanged from the 2021 model. So then how to tell the difference? The Pro Edition lands in two new colours – solar gold and space grey – and its subtle ambient mood lighting now offers a choice of more than 15 colours via the firm’s smartphone companion app. Some of which aren’t subtle in the slightest. Seeing the suave Bowers & Wilkins logo illuminated hot pink is quite the trip.
The upgrades aren’t just skin-deep, of course. Inside, the Zeppelin Pro Edition has been treated to the same 25mm titanium dome tweeters as the award-winning 600 Series loudspeakers. Each one is squeezed into the far edges of the enclosure and fully isolated, for vibration-free listening that promises smoother high frequencies. The 90mm mid-range drivers then use Bowers’ Fixed Suspension Transducer (FST) tech, with uprated cone damping for a more open sound, while the 150mm woofer has been optimised for a subtler frequency crossover and less cabinet rocking.
My hands-on session included a back-to-back test with the outgoing Zeppelin, which will remain on sale until the remaining stock dries up. It was a great demo of how some small but notable changes have elevated the presence of this already alluring speaker. The Pro delivered high frequency notes with a smoother, more rounded roll off, noticeable in the higher pitched vocals and plodding percussion on Eddie Kendricks’ My People… Hold On.
The Bug’s altogether grittier Poison Dart will show up any tweeter that flirts with sibilance or a glassy presentation. There was zero harshness here, but the fiery female vocals still retained their bite. Nothing has been lost in exchange, with the same refinement and clarity I’d expect from a Bowers & Wilkins speaker. From glam metal to dub reggae, I walked away impressed with the tonality and control on show.
James Blake’s Fall Back, one of my go-to tracks for judging instrument layering and overall comprehension, couldn’t reveal any obvious weak points. The subwoofer delivered impactful sub-bass, without intruding on the mid-range, which had an assured presence.
The demo unit was at roughly 75% volume, and was easily meaty enough to fill a space large enough for 15 assembled journalists and PRs. As one box wireless speakers go, you’d need a cavernous room before the Zeppelin Pro will struggle to fill it with sound.
Uprated drivers aside, the Zeppelin Pro uses the same wireless platform as the previous-gen model. That means it’ll still let you stream directly via AirPlay 2, aptX Adaptive Bluetooth, or Spotify Connect; link up with the Bowers & Wilkins Music app for direct access to top streaming services (which now include Tidal and Qobuz); and form part of a multi-room setup so that your entire house can bathe in hi-res audio.
The DAC and DSP are unchanged, so it’ll still play nicely with 24-bit files. Alexa has been banished, though; Zeppelin owner feedback suggested the voice control tech just wasn’t being used. The Zeppelin Pro remains all-in on wireless playback, too: the USB-C port at the rear will accept an Ethernet adapter if your Wi-Fi isn’t up to the task, but it won’t let you hook up an external disk full of FLAC files.
So, how much for all this high-tech indulgence? The Zeppelin Pro Edition will start shipping soon, in your choice of Solar Gold or Space Grey colours. You can snag one from B&W’s website for $799/£699. I’m looking forward to getting hold of one for a more in-depth review.
Tom Morgan-Freelander
Deputy Editor 
